Vår Tid (Our Time). From the Amnesty International folder for prisoners in Chile
Curated by Jeong Won Chae
In 1974, Amnesty International exposed human rights abuses in Chile after the Chilean military coup. At the same time, a graphic portfolio titled Ur Mappen Amnesty International För Fångar i Chile was published to support political prisoners in Santiago, containing five prints donated by the artists Jörgen Fogelquist, Lage Lindell, Ulf Trotzig, Tage Törning, and Anders Österlin, accompanied by a foreword written by Birgitta Trotzig.
The project, ‘Vår Tid (Our Time)’ was presented as printed matter, containing research materials around this Amnesty folder. By tracing artists’ social interventions, collecting solidarity and resistance movements in the 1970s, and interviewing curators and personnel of Amnesty International, ‘Vår Tid’ aims to provide a closer reading of artists’ social action against human rights violations in Chile. Furthermore, it questions how art can continue to contribute to humanity through solidarity actions.
Vår Tid(our time)_JeongwonChae.pdf
Jeong Won Chae is an independent curator, based in Stockholm. Her main research subject is mediation of art, especially art and art-centric institution’s solidarity actions in multicultural and peripheral communities, as well as global issues.
Jeong has professional experience as a curator with specialisation in media art (Art Center Nabi, South Korea), and later as an educator in charge of public programmes (National Museum of Modern and Contemporary Art, South Korea). While delving into the interactive aspect of museum programmes, she took a special interest in mediation, where she aims to experientially communicate values of contemporary art to the public and the experiences of the public back to the curatorial.
In addition to her experiences, she has explored art institutions’ social interventions with their neighbourhoods by taking a postgraduate course for professionals, ‘Sites and Situations’ at Konstfack (2017/18), and a curatorial residency at Not Quite in Fengersfors (2018).
Now she puts more concentration on mediating methodology, which connects Nordic and East Asian artistic contexts by researching historical, cultural and social differences and similarities.